Images at Librifly

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Comforts of Bath: Coaches Arriving, Thomas Rowlandson, 1756–1827, British, 1798, Watercolor with pen and black ink over graphite on medium, slightly textured, cream laid paper, Mount: 5 5/8 x 8 7/16 inches (14.3 x 21.4 cm) and Sheet: 4 5/8

Foxhunting: The Toast, Henry Thomas Alken, 1785–1851, British, undated, Watercolor, pen and black ink, and graphite on medium, slightly textured, blued white, wove paper, Sheet: 9 3/16 × 12 3/8 inches (23.3 × 31.4 cm), birds, chairs,

From Inn at Chichester, July 1828, Anne Rushout, ca. 1768–1849, British, 1828, Watercolor on moderately thick, slightly textured, cream wove paper

Under the Walls of Rome, Isaac Weld, 1774–1856, Irish, 1818, Watercolor and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 8 11/16 x 13 5/16 inches (22.1 x 33.8 cm), cityscape, Grand Tour, walls, Rome

Two Riders Exercising Horses at a Gallop, Henry Thomas Alken, 1785–1851, British, undated, Watercolor, with pen, in red ink, graphite, and gouache on medium, slightly textured, cream, wove paper, Sheet: 10 3/16 × 14 9/16 inches (25.9

Asian Openbill Stork (Anastomus oscitans), Shaykh Zayn-al-Din, active 1777–1782, Indian, 1781, Graphite and watercolor on medium, slightly textured, cream laid paper, Sheet: 21 1/4 × 29 1/8 inches (54 × 74 cm), animal art, bird, shell,

Memorial to Mary Heigham from East Ham Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium, slightly textured, cream wove paper, Sheet: 14 3/4 × 11 3/4 inches

The Junction of the Severn and the Wye with Chepstow in the Distance, David Cox, 1783–1859, British, 1830, Watercolor with stopping out, rubbing out, scraping out, and gouache on moderately thick slightly textured cream wove paper, Sheet:

The Environs of London:Tomb of George Earl of Macartney, from Chiswick Churchyard, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink and watercolor over graphite on medium, slightly textured, cream wove paper,

North West View of Ingestre, Staffordshire; the Seat of the Right Hon'ble Earl Talbot, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1815, Watercolor and pen and black ink on moderately thick,

Memorial to Henry Dixon and Barbara, his Wife from Enfield Church, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium, slightly textured, cream wove

Lichfield Cathedral, Staffordshire, Thomas Girtin, 1775–1802, British, 1794, Watercolor with pen in gray ink over graphite on moderately thick, moderatetly textured, brown, wove paper, Sheet: 15 1/16 x 11 3/8 inches (38.3 x 28.9 cm),

Kirkstall Abbey, Yorkshire, Amelia Long, 1762–1837, British, undated, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 12 3/4 × 20 3/8 inches (32.4 × 51.8 cm), architectural subject

Mill at Load Water, Thomas Stowers, 1754–active 1814, undated, Watercolor with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 5 5/8 × 10 inches (14.3 × 25.4 cm), architectural subject, bridge (built work),

The First Book of Urizen, Plate 22, 'Stretch'd for a Work of Eternity....' (Bentley 20), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching in orange-brown with watercolor on moderately thick, slightly

The Three Sisters, Benjamin West, 1738–1820, American, active in Britain (from 1763), 1783, Watercolor with pen and brown ink on moderately thick, moderately textured, beige laid paper, Sheet: 14 3/16 x 11 inches (36 x 27.9 cm) and Mount:

The Lake of Geneva from the Canton of Berne, John Robert Cozens, 1752–1797, British, 1776, Watercolor, gray wash, brown wash, graphite, and pen and black ink on medium, slightly textured, cream laid paper, Sheet: 9 1/2 x 14 inches (24.1

The Parthenon from the North End of the Eastern Portico of the Propylae, Evening Light, John Fulleylove, 1845–1908, British, ca. 1895, Watercolor and graphite, with scraping out on thick, rough, wove paper, Sheet: 10 7/8 × 15 3/8 inches

Farm Buildings, William James Muller, 1812–1845, British, undated, Watercolor, graphite, and black chalk on medium, moderately textured, cream wove paper, Sheet: 10 3/4 x 14 7/16 inches (27.3 x 36.7 cm), architectural subject, clouds,

Bridgenorth, Shropshire, Paul Sandby RA, 1731–1809, British, ca. 1801, Gouache, watercolor, white chalk, black chalk and graphite on medium, cream, slightly textured wove paper, Sheet: 25 7/8 x 35 1/2 inches (65.7 x 90.2 cm) and Frame:

Farmyard with Horses Waiting, Robert Hills, 1769–1844, British, undated, Watercolor and graphite on medium, cream, moderately textured wove paper, Sheet: 4 5/8 x 6 3/8 inches (11.7 x 16.2 cm), animal art, chickens, cows, farmyard,

Jerusalem, Plate 18, 'From every-one of the Four Regions....', Print made by William Blake, 1757–1827, British, 1804 to 1820, Relief etching printed in orange with pen and black ink and watercolor on moderately thick, smooth, cream wove

A Water-Wheel Driving a Transporter, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and gray and black ink; Verso: pen and black and gray ink, with trace of red pastel/charcoal, over graphite on moderately thick,

Delft, James Holland, 1799–1870, British, 1845, Watercolor and graphite on medium, slighlty textured, cream wove paper, Sheet: 9 1/8 × 5 1/2 inches (23.2 × 14 cm), buildings, cityscape, river, tower (building division), trees

Nuxia oppositifolia (Hochst.) Benth. : finished drawing without detail of leaf, Luigi Balugani, 1737–1770, Italian, undated, Watercolor and gouache over graphite on medium, slightly textured, cream laid paper, Sheet: 15 15/16 × 12 5/16

Wild Indian, Philip William May, 1864–1903, British, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, blued white laid paper, Sheet: 7 1/16 × 2 7/8 inches (17.9 × 7.3 cm), body art, buckskin,

Swiss Valley Landscape, John William Inchbold, 1830–1888, British, 1885, Watercolor and gouache on thick, slightly textured, cream wove paper with gilt edges, Sheet: 4 1/4 × 6 1/2 inches (10.8 × 16.5 cm), clouds, hills, landscape,

Chinese Flower Seller, Thomas Stothard, 1755–1834, British, undated, Watercolor with pen and black ink on medium, smooth, cream wove paper, Sheet: 9 5/8 × 7 1/2 inches (24.4 × 19.1 cm), barefoot, boy, Chinese, figure study, flowers

Fennec of Bruce and Red Backed Fennec, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink, black ink, gray ink, red ink and graphite on moderately thick, smooth, cream, wove paper, Sheet: 4 11/16 × 7

Jerusalem, Plate 93, 'Enitharmon heard....', Print made by William Blake, 1757–1827, British, 1804 to 1820, Relief etching printed in orange with pen and black ink and watercolor on moderately thick, smooth, cream wove paper, Sheet: 13

The Source of the Vaucluse, Sir Robert Smirke the younger, 1781–1867, British, 1802, Watercolor and graphite on medium, moderately textured, blued white, laid paper, Sheet: 7 13/16 × 9 3/4 inches (19.8 × 24.8 cm

Design for Grosvenor House, London: Plan, Thomas Cundy, 1790–1867, British, 1827, Graphite, pen and black ink and watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 21 1/8 × 16 7/8 inches (53.7 × 42.9 cm),

A London Street Crier, James Gillray, 1757–1815, British, undated, Watercolor with pen and brown ink over graphite on medium, slighlty textured, cream wove paper, Sheet: 9 1/8 × 6 1/8 inches (23.2 × 15.6 cm), baby, child, genre

Collection of Prints by Notable Dilettanti, unknown artist, eighteenth century, Annotated by James Chelsum, 1738–1801, British, c. 1780, Graphite and watercolor

Back View of a Soldier, Edmund Thomas Parris, 1793–1873, British, undated, Watercolor and graphite on medium, smooth, cream wove paper, Sheet: 3 5/16 × 1 11/16 inches (8.4 × 4.3 cm), cane, cap, epaulettes, gloves, jacket, man,

Brass Plate for William and Jane Smith from Enfield Church, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink and watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 14 ×

View in the Province of Kiang-nan, China, Taken from Nature, William Alexander, 1767–1816, British, 1793, Watercolor, pen and black ink, and graphite on medium, slightly textured, cream wove paper mounted on thick, slightly textured,

Young's Night Thoughts, Page 70, ''Till death, that mighty hunter, earths them all', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

Tomb of Lady Elizabeth Berkeley from Cranford Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium, slightly textured, cream wove paper, Sheet: 14 7/8 × 10 5/8

Lago di Como, Brienno?, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on thick, rough, cream wove paper, Sheet: 4 7/8 x 8 1/8 inches (12.4 x 20.6 cm), buildings, lake, landscape, mountains, sky,

Street Scene: Opatow Kelecki, Poland, Robert Polhill Bevan, 1865–1925, British, ca. 1907, Watercolor and black chalk on medium, smooth, beige wove paper, Sheet: 6 5/8 x 9 inches (16.8 x 22.8 cm), architectural subject, buildings, cart,

The Launching of a Ship, Thomas Rowlandson, 1756–1827, British, ca. 1800, Watercolor, pen and red ink, pen and brown ink, pen and gray ink, and graphite on medium, slightly textured, brown wove paper mounted on thick, rough, brown wove

'Rather Too Fast', Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on medium, slightly textured, cream, wove paper, Sheet: 9 5/16 × 13 1/4 inches (23.7 × 33.7 cm), dogs (animals), field, galloping, horseback

Old Somerset House, Thomas Theodosius Forrest, 1728–1784, British, undated, Watercolor, pen and black ink and graphite on medium, slightly textured, cream laid paper, Sheet: 9 5/8 × 12 inches (24.4 × 30.5 cm), architectural subject

Lilleshall, Shropshire: View of the North Entrance and of the West Front, Sir Jeffry Wyatville, 1766–1840, British, 1826, Graphite, pen and black ink, watercolor on slightly textured, medium, white wove paper, Sheet: 12 × 18 13/16

A Collection of Surveys of Scottish Estates of the Earl of Selkirk: Balmae, unknown artist, nineteenth century, undated, Graphite, watercolor, gray wash, pen and black ink on slightly textured, moderately thick, cream wove paper, Sheet: 37

Chepstow Castle from the Bridge, attributed to Peter DeWint, 1784–1849, British, undated, Watercolor on medium, slightly textured, cream wove paper, Sheet: 8 3/4 x 12 1/8 inches (22.2 x 30.8 cm), architectural subject, boats, bridge

Rider on a Brown Horse Going at a Wall, Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on medium, slightly textured, blued white, wove paper, Sheet: 8 15/16 × 12 3/4 inches (22.7 × 32.4 cm), dogs (animals),

Sunset, Samuel Palmer, 1805–1881, British, active in Italy (1837–39), ca. 1861, Watercolor, gouache, gum, and graphite on thick, smooth, cream wove paper, Sheet: 10 5/8 x 15 1/4 inches (27 x 38.7 cm), agriculture, cattle, clouds,

Design for a Coin: Queis Tutum Faciant Iter, Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), undated, Graphite, and incised for transfer on medium, slightly textured, blued white laid paper mounted on

Oare Village, Rev. James Bulwer, 1794–1879, British, 1837, Watercolor, graphite, and pen and brown ink on smooth, moderately thick, cream wove paper, Sheet: 13 15/16 × 17 5/16 inches (35.4 × 44 cm) and Image: 8 3/8 × 10 5/8 inches

Still Life with Acorns and Horse Chestnuts, unknown artist, between 1826 and 1866, Watercolor, gouache over graphite, Sheet: 8 9/16 x 11 1/4in. (21.7 x 28.6cm

Turver's Farm, Wimbish, Essex, Thomas Girtin, 1775–1802, British, ca. 1799, Watercolor with pen and brown ink and gouache over graphite on beige, moderately thick, moderately textured, laid paper, Sheet: 11 7/8 x 16 3/8 inches (30.2 x

A Cow Lodge with a Mossy Roof, Samuel Palmer, 1805–1881, British, active in Italy (1837–39), ca. 1829, Watercolor, gouache, and pen and black ink on medium, slightly textured, cream wove paper, Sheet: 10 1/2 x 14 3/4 inches (26.7 x

The Cornfield, Peter DeWint, 1784–1849, British, undated, Watercolor and graphite on moderately thick, rough, beige, wove paper, Sheet: 11 11/16 × 17 1/4 inches (29.7 × 43.8 cm), corn, cornfield, cottage, genre subject, grain,

Two Boats at Anchor, attributed to Paul Sandby RA, 1731–1809, British, undated, Watercolor and graphite with pen and brown ink on medium, cream, medium textured laid paper, Sheet: 8 x 12 3/4in. (20.3 x 32.4cm), boats, marine art

Ibreem, 10:30 am, 2 February 1867 (318), Edward Lear, 1812–1888, British, 1867, Watercolor with pen and brown ink over graphite on thick, rough, cream wove paper, Sheet: 1 5/8 × 4 7/8 inches (4.1 × 12.4 cm), cliffs, landscape, river,

Bathampton Mill, Edward Francis Burney, 1760–1848, British, undated, Watercolor and pen and black ink on medium, slightly textured, cream laid paper, Sheet: 9 × 12 1/4 inches (22.9 × 31.1 cm), boat, dam, landscape, men, mill, trees,

Laying Storm Anchors, Cornelius Varley, 1781–1873, British, undated, Watercolor, white gouache, pen and brown ink, and graphite on medium, cream, slightly textured wove paper, Sheet: 7 x 4 1/2 inches (17.8 x 11.4 cm) and Mount: 8 1/8 x 5

The Harvesters, attributed to Peter DeWint, 1784–1849, British, undated, Watercolor and graphite with scratching out on moderately thick, moderately textured, cream wove paper, Sheet: 6 5/8 × 10 3/4 inches (16.8 × 27.3 cm), bonnets,

Sidmouth, David Roberts, 1796–1864, British, 1845, Watercolor over graphite with gouache on thick, slightly textured, beige wove paper, Sheet: 10 1/8 x 13 7/8in. (25.7 x 35.2cm) and Sheet: 10 1/8 × 13 7/8 inches (25.7 × 35.2 cm), beach,

Interior View of Rufford Hall, Lancashire, belonging to Sir Thomas Hesketh Bart., John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1817, Watercolor and pen and black ink on moderately thick, cream

The Poems of Thomas Gray, Design 105, 'Elegy Written in a Country Church-Yard.', William Blake, 1757–1827, British, between 1797 and 1798, Watercolor with pen and black ink and graphite on moderately thick, slightly textured, cream wove

Wooded Landscape with Cottages and Countrywomen, Hurley, Berkshire, Joshua Cristall, 1768–1847, British, 1818, Watercolor and graphite, with scraping on thick, slightly textured, beige card, Sheet: 11 3/8 × 18 1/8 inches (28.9 × 46

The Death, Possibly Henry Thomas Alken, 1785–1851, British, or possibly Samuel Henry Gordon Alken, 1810–1894, British, undated, Graphite and watercolor on medium, slightly textured, blued white, wove paper, Sheet: 8 5/8 × 10 11/16

North American Lynx, Samuel Howitt, 1756–1822, British, ca. 1817, Watercolor and pen and brown ink over graphite on medium, slightly textured, cream wove paper, Sheet: 9 × 6 3/4 inches (22.9 × 17.1 cm), animal art, branch, lynx, tree

Middleham, Yorkshire, attributed to Peter DeWint, 1784–1849, British, undated, Watercolor, gouache and graphite on thick, cream, rough wove paper, Sheet: 10 3/8 x 18 1/2 inches (26.4 x 47 cm), cityscape, landscape, rivers, towns,

Unidentified Fish, Luigi Balugani, 1737–1770, Italian, undated, Watercolor, gouache, and graphite on medium, slightly textured, cream laid paper, Binding: 16 1/4 inches (41.3 cm) and Sheet: 16 × 12 1/2 inches (40.6 × 31.8 cm), animal

A Woodland Pool with Rocks and Plants, Thomas Gainsborough RA, 1727–1788, British, between 1765 and 1770, Watercolor, black and white chalk, and oil paint, with gum on medium, slightly textured, cream laid paper, backed with laid paper,

Near Salo, Maderno, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on thick, rough, cream wove paper, Sheet: 3 1/8 x 8 15/16 inches (7.9 x 22.7 cm), lake, landscape, mountains, sky, water, Italy,

Newport High Street, Isle of Wight, Thomas Rowlandson, 1756–1827, British, between 1797 and 1800, Watercolor with pen and black and gray ink over graphite on medium, slightly textured, cream, wove paper, Sheet: 5 1/4 x 18 7/16 inches

South West View of Rushton Hall, Northamptonshire; the Seat of the Honourable Mrs. Cockayne, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1817, Watercolor and pen and black ink on moderately thick,

Interior at Dalmally, Scotland, Thomas Richardson Jr., 1813–1890, British, 1850, Watercolor over graphite on moderately thick, rough, cream wove paper, Sheet: 14 × 20 inches (35.6 × 50.8 cm

Gebel Sheikh Abu Fodde, Edward Lear, 1812–1888, British, 1854, Watercolor, graphite, pen and red ink on moderately thick, moderately textured, beige wove paper, Sheet: 2 7/16 x 9 3/16 inches (6.2 x 23.3 cm), boat, landscape, river,

On the Road, Two Hours from Tepelene, 19 April 1857, Edward Lear, 1812–1888, British, 1857, Watercolor with pen in brown ink over graphite on moderately thick, rough, beige wove paper, Sheet: 8 7/8 x 12 7/16 inches (22.5 x 31.6 cm),

St. John's College, Oxford, Alfred William Rich, 1856–1921, British, undated, Watercolor, graphite, and red pencil on thick, rough, cream wove paper, Sheet: 9 1/2 × 11 7/8 inches (24.1 × 30.2 cm), arches, architectural subject,

Main Entrance of the Jami Mosque, Jaunpur, Thomas Daniell, 1749–1840, British, active in India, William Daniell, 1769–1837, British, 1797 to 1807, Watercolor and graphite on thick, moderately textured, cream wove paper, Sheet: 22 1/8

Country Scene: Cottage and Figures on a Winding Road, Master of the Wire Line, 18th century, undated, Black ink with watercolor on thick, moderately textured, green-beige laid paper, Sheet: 10 7/8 x 15 11/16 inches (27.7 x 39.9 cm), chimneys,

Man with a Stringed Instrument, Attributed to Gangaram Chintaman Tambat, active 1790s, Anglo-Indian, undated, Watercolor, gouache, and graphite with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 6 1/8 × 6 1/2

Unidentified Bird, Luigi Balugani, 1737–1770, Italian, undated, Watercolor, gouache, and graphite on medium, slightly textured, cream laid paper, Binding: 16 inches (40.6 cm) and Sheet: 15 7/8 × 12 inches (40.3 × 30.5 cm), animal art

Windsor Castle, Berkshire: South-Facing View of the Upper Ward, Studio of Sir Jeffry Wyatville, 1766–1840, British, ca. 1830, Pen and black ink and watercolor on slightly textured, medium, white wove paper, Sheet: 4 5/8 × 9 1/2 inches

Near Torrington, Devonshire, Capt. Francis Grose, 1731–1791, British, 1778, Watercolor on medium, slightly textured, cream laid paper, Sheet: 9 3/4 x 14 1/2in. (24.8 x 36.8cm) and Sheet: 9 3/4 × 14 1/2 inches (24.8 × 36.8 cm), hills,

Mont-Valérien from Bois de Boulogne, William Callow, 1812–1908, British, active in France, 1834, Watercolor with pen and brown ink over graphite, with scratching out on medium, slightly textured, cream wove paper, Sheet: 4 1/2 × 9 5/8

The Bridge of Sighs, Venice, Alfred Stevens, 1817–1875, British, undated, Watercolor and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 3 15/16 × 7 1/4 inches (10 × 18.4 cm), bridge (built work), bridges,

Lilleshall, Shropshire: The South and East Fronts, Sir Jeffry Wyatville, 1766–1840, British, 1826, Graphite, pen and black ink, watercolor on slightly textured, medium, white wove paper, Sheet: 11 5/8 × 18 1/2 inches (29.5 × 47 cm),

Figures Outside the Boar Inn, Robert Dixon, 1780–1815, British, undated, Watercolor, with pen, in browni ink, and graphite on medium, moderately textured, beige, laid paper, mounted on, very thick, moderately textured, beige,

Woodcock Shooting, William Heath, 1795–1840, British, undated, Watercolor, with pen, in brown ink, touched with gum arabic, gouache and traces of graphite on medium, slightly textured, beige, wove paper, Sheet: 9 11/16 × 7 3/16 inches

Native and Horseman by a Ruin, Samuel Davis, 1757–1819, British, undated, Watercolor, pen, and ink on medium, slightly textured, cream wove paper, Sheet: 9 3/8 x 11 7/8 inches (23.8 x 30.2 cm), boulders, horse (animal), landscape,

Designs executed for Jones and Willis, metal and wood-workers and church furniture manufacturers of Birmingham and London, George Edmund Street, 1824–1881, British, undated, Pen, black ink and graphite with watercolor and gouache verso:

View of Lakes Buttermere and Crummock Water, William Green, 1760–1823, British, 1803, Watercolor and gum over graphite on medium, smooth wove paper mounted on card, Sheet: 14 5/8 x 19 7/8 inches (37.1 x 50.5 cm) and Mount: 15 1/2 x 21 1/4

Unidentified House for Giles Hudson, Putney, Surrey: Chamber Floor Plan, William Wickham, born ca.1750, British, undated, Graphite, pen and black and brown ink, watercolor on moderately textured, moderately thick, cream laid paper, Sheet:

Blazing on the Hearth, The Father Recounting the History to His Children, Julius Caesar Ibbetson, 1759–1817, British, undated, Pen and black ink and watercolor on medium, slightly textured, cream wove paper, Sheet: 2 3/8 × 3 inches (6 ×

Saint Catherine's Hill, Guildford, Surrey, Joseph Mallord William Turner, 1775–1851, British, 1830, Watercolor, graphite, scraping out and scratching out on medium, slightly textured, cream wove paper mounted on thick, smooth, cream

The First Book of Urizen, Plate 12 (Bentley 22), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching in orange-brown with watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 11 7/8 x

Feral Dog of St. Domingo, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor pen and black ink, gray ink and graphite on moderately thick, smooth, cream, wove paper, Sheet: 4 5/8 × 7 7/16 inches (11.7 × 18.9 cm), animal

Hares Feeding, Print made by Samuel Howitt, 1756–1822, British, Published by Edward Orme, 1775–1848, British, 1812, Etching with hand coloring in watercolor on medium, slightly textured, cream wove paper

Windsor Castle from the South, William Daniell, 1769–1837, British, 1827, Watercolor over graphite with pen in brown ink and black ink with white gouache on moderately thick, slightly textured, cream wove paper, Sheet: 12 x 19 3/4 inches

Catha edulis Forssk. (Khath): finished drawing, Luigi Balugani, 1737–1770, Italian, undated, Watercolor and gouache over graphite on medium, slightly textured, cream laid paper, Sheet: 15 15/16 × 12 5/16 inches (40.5 × 31.3 cm) and

Pheasant Shooting, Robert Dighton, 1752–1814, British, before 1801, Watercolor, pen and black ink, gray ink, graphite and gouache on medium, moderately textured, blued white, laid paper, Sheet: 10 1/16 × 14 1/2 inches (25.6 × 36.8

Vauxhall Bridge, John Varley, 1778–1842, British, ca. 1816, Watercolor and graphite on medium, moderately textured, cream wove paper, Sheet: 11 3/8 x 14 7/8 inches (28.9 x 37.8 cm), architectural subject, bridges (built works),

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